DOCSLIB.ORG

Athena Tacha Papers 3518 Finding Aid Prepared by Sarah Newhouse

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Athena Tacha Papers 3518 Finding Aid Prepared by Sarah Newhouse Athena Tacha papers 3518 Finding aid prepared by Sarah Newhouse. Last updated on November 09, 2018. Historical Society of Pennsylvania March 6, 2012 Athena Tacha papers Table of Contents Summary Information....................................................................................................................................3 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 Correspondence........................................................................................................................................7 Education..................................................................................................................................................8 Miscellaneous.........................................................................................................................................10 Photographs............................................................................................................................................11 - Page 2 - Athena Tacha papers Summary Information Repository Historical Society of Pennsylvania Creator Tacha, Athena, 1936-. Title Athena Tacha papers Call number 3518 Date [inclusive] 1942-2000 Extent 3.4 linear feet (3.4 linear feet, 12 boxes, 2 volumes ) Language Greek, Modern (1453-) Mixed materials (00003074)11 [Box] Mixed materials (00003075)12 [Box] Mixed materials (00003076)1 [Volume] Mixed materials (00003070)7 [Box] Mixed materials (00003071)8 [Box] Mixed materials (00003072)9 [Box] - Page 3 - Athena Tacha papers Mixed materials (00003073)10 [Box] Mixed materials (00003066)3 [Box] Mixed materials (00003067)4 [Box] Mixed materials (00003068)5 [Box] Mixed materials (00003069)6 [Box] Mixed materials (00003077)2 [Volume] Mixed materials (00003064)1 [Box] Mixed materials (00003065)2 [Box] Abstract Athena Tacha (1936-) is a Greek American sculptor, photographer, and conceptual artist who received degrees from the National Academy of Fine Arts (Athens, Greece), Oberlin College (Oberlin, Ohio), and the University of Paris (Sorbonne). In the 1960s she settled in the United States and became a professor of sculpture at Oberlin College. Her commissioned pieces are installed as public art across the United States and in several other countries as well. This collection contains mostly early correspondence, education materials, publications, and artwork from 1950 through the 1980s, although it spans from 1950 to 2000. - Page 4 - Athena Tacha papers Administrative Information Historical Society of Pennsylvania March 6, 2012 Finding aid prepared by Sarah Newhouse. Sponsor This collection was processed during the Digital Center for Americana Project Phase II, which was funded by grants from the National Endowment for the Humanities and the Richard Lounsbery Foundation. Access Restrictions This collection is open for research. Related Materials Related Archival Materials note At the Historical Society of Pennsylvania: Brancusi's Birds by Athena Tacha, 1969 (NB933.B7 S63) At other institutions: Athena Tacha collection at Oberlin College in Pennsylvania. http://www.oberlin.edu/archive/holdings/ finding/RG30/SG262/biography.html Athena Tacha papers at the Archives of American Art. http://www.aaa.si.edu/collections/athena-tacha- papers-6242 Oral history interview with Athena Tacha, 2009 December 4-6 at the Archives of American Art. http:// www.aaa.si.edu/collections/interviews/oral-history-interview-athena-tacha-15749 - Page 5 - Athena Tacha papers Controlled Access Headings Form/Genre(s) • Photographs. Personal Name(s) • Boskoff, Georges. • Brancusi, Constantin, 1876-1957. • Dine, Jim, 1935-. • Duchamp, Marcel, 1887-1968. • Morris, Robert, 1931-. • Sklavos, Gerasimos, 1927-1967. • Souriau, Etienne, 1892-1979. • Spear, Richard E., 1940-. Subject(s) • Greece--History--Civil War, 1944-1949. • Greece--History--Coup d'état, 1967 (December 13). • Greece--History--Coup d'état, 1967 (April 21). • Greece--History--Coup d'état, 1973 (May 22-23). • Greece--History--Coup d'état, 1973 (November 24-25). • Greek American art. • Greek American women. • Outdoor sculpture--United States. • Sculptors--Greece. • Women sculptors. - Page 6 - Athena Tacha papers Correspondence Collection Inventory Correspondence. Box Folder 1950-1963. 1 1 1953-1991. 1 2 1950s. 1 3-7 1950s. 2 1-2 1950s-1963. 2 3-6 1962-1963. 2 7 1965-1966. 3 1-2 1965-1966, 1971. 3 3 1968. 3 4 1969-1973. 3 5 1960s. 3 6 1971, 1975. 3 7 1973, 1975. 3 8 1976-1984. 4 1 - Page 7 - Athena Tacha papers Education 1980-1983. 4 2 1988-1989. 4 3 1980s. 4 4-7 1980s. 5 1 1999-2000. 5 2 1990s. 5 3 Education. Box Folder Fellowships and scholarships: Paris, 1957, 1961, undated. 5 4 Fellowships and scholarships: United States Information Service and the 5 5 Greek National Scholarships Foundation, 1960-1963. Immigration: Visa file, 1965. 6 1 Jobs: "Letters from Paris seeking jobs for returning to U.S.A.", 1962-1963. 6 2 Letters of recommendation and diplomas (duplicates), 1958-1963. Box Folder Notes and papers: Aesthetics and art history notebooks from Paris, 1961-1963. 8 Notes and papers: Aesthetics and art history notebooks from Paris: Loose 6 4 items removed from notebooks, 1961-1963. Notes and papers: Architecture notebook, 1959. 6 5 - Page 8 - Athena Tacha papers Education Notes and papers: Art history, 1955-1961, undated. 6 6 Box Folder Notes and papers: Art history courses at Oberlin College notebook, 1960-1961. 1-2 Box Folder Notes and papers: Draft of PhD thesis, "L'Art du Relief", 1961 June 10. 6 7 Notes and papers: Bronze casting workshop notebooks, 1957. 9 Notes and papers: Computer programming, 1969. 6 8 Notes and papers: Contemporary art seminar with E. Johnson, 1961. 6 9 Notes and papers: Egyptian and Babylonian art and history, undated. 6 10 Notes and papers: "French syntax and idioms" notebook, 1953. 6 11 Notes and papers: Gothic architecture, 1965. 6 12 Notes and papers: Latin grammar, 1950s. 6 13 Notes and papers: Medieval art, undated. 6 14 Notes and papers: Michelangelo senior seminar notecards, Oberlin College. 6 15 Notes and papers: Michelangelo senior seminar notes, Oberlin College, 6 16 1960. Notes and papers: Michelangelo senior seminar papers, Oberlin College, 6 17 1960. Notes and papers: Modern art, undated. 6 18 - Page 9 - Athena Tacha papers Miscellaneous Notes and papers: Musicology notebooks, 1962-1963. 10 Notes and papers: Summer school at the Alliance Française, Paris, 1956. 7 1 Miscellaneous. Box Folder Certificates and awards, 1949. 7 2 Clippings about Athena Tacha from newspapers and magazines, 7 3-4 1970s-1980s. Drawings, 1942-1946. 7 5 Drawings, 1943-1952. 7 6 Box Folder Drawings: Brancusi's "Birds", undated. 1 Drawings: Figures, sculpture, and architecture, 1956-1958. 2-4 Box Folder Lectures and publications, 1957-1958, 1961-1962. 7 7 Lectures and publications: Early writings, 1943-1952. 7 8 Lectures and publications: "Waterfronts as Site Sculpture" draft, 1985. 7 9 Manuscripts, 1957-1958. 7 10 Musical scores, undated. 7 11 Photocopy of Constantine Tacha biography, 1956. 7 11A - Page 10 - Athena Tacha papers Photographs Notebooks: Lists of books read and various notes, 1950s. 11-12 Photographs. Box Folder Photographs, 1957-1960. 7 12 Photographs and postcards, 1956-1960, undated. 7 13 - Page 11 -.
Load more
Loading...
Loading...
Loading...
Loading...
Loading...

6 pages remaining, click to load more.

Recommended publications
  • A Complete Catalogue of the Works of Athena Tacha
    A COMPLETE CATALOGUE OF THE WORKS OF ATHENA TACHA Compiled by Richard Spear, © 2012-13, in consultation with the artist and periodically revised Photographs of nearly every work are to be found in eleven albums of slides and nine albums of black and white photographs donated to the Archives of American, Washington, D.C., in 2019; and in digital images (starting in 2005) on the artist’s computer, backed up on external drives. Drawings, models, and photographs of Tacha’s proposed and executed public sculpture (139 proposals as a finalist in public competitions) are illustrated in VISUALIZING, which complements the earlier, also richly illustrated DANCING (see below for full references). Original slides and films for many works in this catalogue in the categories concept, film and photo (see below) are also at the Archives of American Art. Documentary movies and videos of a number of public sculptures are listed in INVk. INVi and this catalogue include a number of drawings for public commissions that she did not win; some other, generally secondary or duplicate drawings for commissions that she did win, have not been cited in this catalogue, which includes all of the principal drawings and models for those works. While every effort has been made to provide accurate data, because some works of art were inaccessible for inspection, unsure dates, dimensions and/or media are indicated by a ? sign. For additional documentation about the artist’s work, see her website: www.oberlin.edu/faculty/atacha/index.html, as well as extensive information in files in her computer’s HD, within ATachaFolders titled: ATachaPUBARTtxts; ATbusiness; ATJournals; ATtextsSpecial; and within Users→atacha→Athena→ ATbusinCurrent (biography, exhibitions, literature, museum collections, etc.).
    [Show full text]
  • 1 Press Release Athena Tacha
    ΙΔΡΥΜΑ ΙΩΑΝΝΟΥ Φ. ΚΩΣΤΟΠΟΥΛΟΥ THE J.F. COSTOPOULOS FOUNDATION ATHENS SCHOOL OF FINE ARTS Thessaloniki, 19.10.2010 Press Release Athena Tacha: from the Public to the Private “Nikos Kessanlis” exhibition venue Athens School of Fine Arts 256, Piraeus str., Athens October 22 - November 28, 2010 Opening: Friday October 22, at 20:00 After a successful presentation in Thessaloniki and in the artist’s hometown of Larissa, the retrospective exhibition of Athena Tacha – a distinguished Greek-American artist and professor - entitled “Athena Tacha: from the Public to the Private” opened on October 22, at the Athens School of Fine Arts, “Nikos Kessanlis” exhibition venue and lasted until November 28th 2010. It was a 40-year retrospective representing all aspects of Tacha’s work, curated by Katerina Koskina (art historian, museologist and President of the Board of Trustees of the SMCA) and Syrago Tsiara (art-historian, director of the Thessaloniki Contemporary Art Center). The exhibition was co-produced by the State Museum of Contemporary Art, the J.F. Costopoulos Foundation and the Municipal Art Gallery of Larissa - G.I. Katsigras Museum. More than 100 works of Athena Tacha were presented in the exhibition, documenting for the first time in Greece her incredibly important work in environmental, site-specific sculpture and conceptual art. Her public work consists of more than 45 large executed commissions in public places (squares, open recreation areas, fountains, universities, river banks), in many US states – Florida, Ohio, Arizona, Alaska, Pennsylvania, New York – from the early 1970s until now. 1 In parallel, Athena Tacha has been making numerous conceptual art pieces on the relation of the human body, nature and time (aging, heredity studies, movement studies, etc.), as well as a series of digital art works for the Web on environmental and social issues.
    [Show full text]
  • Conceptual Art: a Critical Anthology
    Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R.
    [Show full text]
  • AAR Magazine Spring Summer 2021`
    AMERICAN ACADEMY IN ROME MAGAZINE SPRING/ SUMMER 2021 A Message from the Chair of the Board of Trustees It’s hard to believe it’s been over a year since the world paused. Thank you for your continued com- mitment to AAR in what I’m sure we will remember as one of society’s most challenging moments. Your time, expertise, guidance, and financial support have all been instrumental in seeing the Academy through this period. I’d also like to thank Mark Robbins and the whole team, especially those on the ground in Rome, for their incredible dedication to navigating the ups, downs, and surprises this past year has brought. Turning to today, the Academy has successfully reopened and the selection process for next year’s fellowship class is complete. AAR is in a much stronger position than I could have imagined when the full pandemic crisis became clear in March 2020. Our finances are stable and (with vaccinations) we believe that by the fall our activities will be close to fully restored. One of the many downsides of this past year has been the lack of direct connection, and we look for- ward to future gatherings in person, here and in Rome. With appreciation and gratitude, Cary Davis Chair, AAR Board of Trustees SPRING/SUMMER 2021 UP FRONT FEATURES 2 20 LETTER FROM THE PRESIDENT SEEING THE ANCIENT WORLD AAR receives major gift of photographs 4 by Carole Raddato FAR AFIELD Checking in with past Fellows and Residents 24 GIVING FOR THE AGES 6 Richard E. Spear and Athena Tacha INTRODUCING underwrite a new Rome Prize The 2020–2021 Rome Prize winners
    [Show full text]
  • The Materiality and Mythology of Rodin's Touch
    Auguste Rodin has been understood by Unlike much earlier sculpture, one needed many to have inaugurated modern sculp- no story or explanation to understand the DAVID J. GETSY ture, liberating it from its conventions and electricity of touching a body or being traditions. While the singularity of this rep- touched. Rodin’s contribution to modern utation could be contested, his work has sculpture was to bring attention to the often overshadowed his competitors and material object as the product of the sculp- alternatives among the divergent routes tor’s hands, and he amplified that attention into and out of modern sculpture across by sculpting naked bodies that seemed to The Materiality and Europe. Across the twentieth century, his convulse in space as the result of those originating status was often assumed, and hands. With Rodin’s work, the sculptor’s Mythology of Rodin’s Touch he became the sculptor against whom oth- touch in the clay was often taken for the ers were gauged in the modern sculpture’s lover’s touching of the nude — despite the early development. That reputation has missing limbs, contortions, or imprints of persisted, and he remains one of the most fingers and hands on Rodin’s sculptural recognizable of modern artists globally bodies. Under his hand, sculpture was because of his way of making sculpture. seen to have become more sensual, and Then and now, his works have appeared the evidence of his manipulations of mat- direct and expressive, with dramatic ter reinforced the frankness that viewers gouges, marks, and finger impressions perceived in the unclothed bodies writhing littering his surfaces.
    [Show full text]
  • Rodin's Performative Mark-Making
    77. 1900 /3 does not refute iconographic or contextual readings. Instead, it makes a conceptual ground for Rodin's making of modern sculpture. All three case for how this work could support so many. For Rodin, the content of strategies came together visibly and dramatically in Rodin's exhibition of the work was, ultimately, his own role as its maker. This is not to say that the Gates in 1900, and all three came to redefine the practice and persona 91 the work is autobiographical, though such implications of this and other of the modern sculptor. This persona, in turn, became closely linked to coded symbolic programs have been made. 19 Rather, this perpetually the context of sexuality that surrounded Rodin's practice in the public unfinished project was the pivot around which turned Rodin's decades­ imagination, supported by and giving new meaning to these tactics. long cultivation of his role as the prototypical modern sculptor. In what follows, I shall discuss three interrelated strategies that Rodin Rodin's Peliormative Mark-Making developed in and through his work on the Gates as a means to stage a par­ ticular view of sculptural practice and to direct the attention back to his Mid-nineteenth century discourses of sculpture in which Rodin emerged own acts of making: (I) his emphatic marking of his works with supposed had a highly vexed attitude toward sculpture's materiality.20 The term traces of his process and manipulation, (2) his deployment of the replica­ "materiality" refers to the constitution of the sculptural object by and as tory and recombinatory potential of plaster casting in developing the fig­ actual matter - stone, metal, wax, plaster, ivory, wood, and so on.
    [Show full text]
  • Fulbright Scholarship Fundraiser at the Benaki Art Supports Education
    GREECE Greek Educators Building Bridges Across the Aegean Check it out! Great Ideas The Fulbright Foundation in Greece will be welcoming lum and instruction in the social sciences, humanities, Th e Great Ideas Series, an initiative of the Fulbright Foundation, celebrated www.fulbright.gr Professional Development Program 16 American educators to its innovative six-week sum- foreign languages and area studies. This seminar, more than 60 years of educational and cultural exchanges between Greece For updates on Fulbright mer seminar, “Building Bridges Across the Aegean,” to which will include both lectures and visits to schools and the United States. Th e Series brought highly esteemed American ex- application deadlines, new Th e Fulbright Foundation in Greece administered the Greek teachers were paired with the Greek teachers to guide them take place in Greece and Turkey. The seminar provides and cultural sites, will provide the participants with a perts and artists to Greece, who performed or discussed current issues with programs and special grants FulbrightNews Teachers Professional Development Program (GTPDP) this and instruct them during the course of the program. Th e participants with a better understanding of the two unique experience of professional and personal enrich- the Greek and American public. Th e Series was designed to facilitate mutual past fall, an eight-week program for Greek secondary educa- Greek teachers also attended cultural activities at the Ken- countries’ histories, cultures, and peoples, and acts ment and will illustrate how the two countries have Scholarships understanding and to create long-lasting collaborations between organiza- tion teachers of the humanities. Th e GTPDP was hosted by nedy Center and the Center for the Arts at GMU, and visited as a forum to develop new international educational evolved into the two modern societies they are today.
    [Show full text]
  • Art in Our Midst: Cleveland Outdoor Sculpture Reconsidered
    ART IN OUR MIDST: CLEVELAND OUTDOOR SCULPTURE RECONSIDERED Presented by The Sculpture Center Curated by Andrea Gyorody and Lo Smith TABLE OF CONTENTS Introduction ……………….……...…………………………….........……....………................……......... 2 Map of the Tour ......…………………………………………………....……….…….............................. 3 Free Stamp by Claes Oldenburg and Coosje van Bruggen ............... 4 Ethiopian Cultural Garden .…..……………………………………………..............…............. 5 Twist and Merging by Athena Tacha ....…………….....................….…............ 6-7 The Thinker by Auguste Rodin ..…………………………………..……………....….….......... 8 Cristoforo Colombo by Louis Regalbuto Sara Lucy Bagby Johnson Headstone .……..……….………..…......…...….…... 9 and Rockefeller’s Obelisk ............................................................................. 10 Jesse Owens Olympic Oak ..…….……………….…….....................………...……............ 11 Cocoa, Milk, and Sugar Silos by Malley's Chocolates ..….................... 12 About the Curators .................................................................................................. 13 1 INTRODUCTION Andrea Gyorody and Lo Smith This tour starts with one of Cleveland’s most iconic public sculptures, Free Stamp, by Claes Oldenburg and Coosje van Bruggen, and then spins outward through the city, to corners lesser known and to works that might not conform to traditional notions of sculpture, but that occupy public space in ways no less resonant. Unless you’re in the know, the histories of these works are often opaque; the average
    [Show full text]
  • 2013 Fall Newsletter
    2013 WSG PROGRAMS & Exhibitions The following volunteers are needed for WSG: secretary, refreshment coordinator and writers for press releases and grants. If you are interested, please e-mail Pattie Firestone at <pattie.firestone@verizon.net> Exhibition: This is Labor 2013: No.3 Fall September 18 – October 20, 2013 VisArts, 155 Gibbs St., Rockville MD Curators Anne Reeve and Clair D’Alba FROM THE PRESIDENT Opening Reception: Friday, September 20, 2013, 7 - 9pm Curators’ Talk and Closing Reception: How Washington Sculptors Group (WSG) Saturday, October 19, 2pm Exhibitions Work Improvisations with Corrugated Cardboard: SG tries to hold two or three member exhibitions each year. The shows are planned Exploring the and managed by folks from the WSG board of directors. Members also volunteer to Creative Process with Whelp. Board members usually negotiate with representatives of venues to set up and schedule Artemis Herber shows, then work with exhibition managers who are responsible for producing the Call for Friday & Saturday, September 20-21, 2013 Entry and handling the show details. 10am - 4pm Jurors for exhibitions known to be qualified to curate major shows are selected from Goethe Institut, 812 7th St. NW, museums, university faculties, major galleries and exhibition spaces or other art related Washington DC Limited enrollment of 20 participants organizations, publications and the media. In addition to selecting works for the exhibition, RSVP: programs@washingtonsculptors.org curators are charged with preparing a paragraph for the Call for Entry describing what the In cooperation with Washington Project for the show is going to be about, assisting with the placement and display of the work in the gal- Arts and Goethe Institut lery and giving a talk at the opening or later.
    [Show full text]
  • Athena Tacha: an Artist's Library on Environmental Sculpture and Conceptual
    ATHENA TACHA: An Artist’s Library on Environmental Sculpture and Conceptual Art 916 titles in over 975 volumes ATHENA TACHA: An Artist’s Library on Environmental Sculpture and Conceptual Art The Library of Athena Tacha very much reflects the work and life of the artist best known for her work in the fields of environmental public sculpture and conceptual art, as well as photography, film, and artists’ books. Her library contains important publications, artists’ books, multiples, posters and documentation on environmental and land art, sculpture, as well as the important and emerging art movements of the sixties and seventies: conceptual art, minimalism, performance art, installation art, and mail art. From 1973 to 2000, she was a professor and curator at Oberlin College and its Art Museum, and many of the original publications and posters and exhibition announcements were mailed to her there, addressed to her in care of the museum (and sometimes to her colleague, the seminal curator Ellen Johnson, or her husband Richard Spear, the historian of Italian Renaissance art). One of the first artists to develop environmental site-specific sculpture in the early 1970s. her library includes the Berlin Land Art exhibition of 1969, a unique early “Seed Distribution Project” by the land and environmental artist Alan Sonfist, and a manuscript by Patricia Johanson. The library includes important and seminal exhibition catalogues from important galleries such as Martha Jackson’s “New Forms-New Media 1” from 1960. Canadian conceptual art is represented by N.E Thing, including the exhibition at the National Gallery of Canada, and the Nova Scotia College of Art and Design Projects Class cards, both in 1969.
    [Show full text]
  • Making Art Visible Athena Tacha
    Making Art Visible A Conversation with Athena Tacha Athena Tacha, in collaboration with EDAW and AGA, Muhammad Ali Plaza, 2002 –09, Louisville, KY, featur - ing Dancing Steps amphitheater and Star Fountain . BY HELENI POLICHRONATOU Athena Tacha was born in Greece and received MA degrees in sculpture (Athens) and art history (Oberlin College) and a PhD in aesthetics (Sorbonne). Since 1970, she has done large-scale outdoor sculp - ture and conceptual/photographic art and has executed more than 40 large commissions for public sites throughout the United States. Tacha’s work is represented in many museums, and she has exhibited widely. Atlanta’s High Museum hosted a large retrospective in 1989, and a 40-year retro - spective recently finished a tour of Greece. This interview took place when “Athena Tacha: From the Public to the Private” R A E (organized by the State Museum of Con- P S . E D temporary Art, Thessaloniki, and co-spon - R A H C I R sored by the J.F. Costopoulos Foundation and the Municipal Art Gallery-G.I. Katsi- gras Museum of Larissa) was on view at the Athens School of Fine Arts, its third venue. Tacha also contributed a site-spe- for Everyone cific installation to the recent inaugural show of the Onassis Cultural Center in Athens, “Polyglossia (30 Expatriate Greek Artists from America and Europe).” Sculpture April 2012 47 Left and below: Athena’s Web , 2010. White fiber - glass plasterboard tape, installation at the State Museum of Contemporary Art, Thessaloniki. to connect vertical and horizontal features of each building in a variety of ways, trans - forming their spaces.
    [Show full text]
  • May 1976 CAA Newsletter
    newsletter Volume I, Number 1 May 1976 why we're here 1977 annual meeting sessions We like standing forests and empty waste­ Art history and studio sessions of the 1977 annual meeting will be held Thursday through paper baskets as well as the next one. And Saturday, Feb. 3 through Feb. 5, at the Los Angeles Hilton Hotel. Registration will begin another publication for the sake of another one day earlier, on Feb. 2. Placement will start two days before regular sessions, on Tuesday, publication isn't the point. Feb. 1, and will run through Thursday, Feb. 3 (see story, page 2). We will be meeting It's just that we've grown: in membership jointly with the Society of Architectural Historians, which will be headquartered in the (up 28% over the past two years), in the nearby Biltmore Hotel. Those registered for the CAA annual meeting may attend SAH professions we embrace (two years ago we sessions, and vice versa. didn't even know what a museologist was; Program coordinator for art history sessions is Beatrice Farwell, University of California, we're not sure we do yet), in the number of Santa Barbara 93106. Program coordinator for studio sessions is Moira Roth, University of things we're doing and the number of things Califomia, San Diego (La Jolla 92093). Below are the topics planned for these sessions. If you want us to do, (We know, we know, but you wish to participate in any of the programs, write directly to the person chairing the we can't just create jObs.) appropriate session be/Me Oct.
    [Show full text]